I recently picked up Renata Adler's works. Specifically what some call one of her more masterful pieces 'Speedboat'.

Adler studied for an M.A. in comparative literature at Harvard under I. A. Richards and Roman Jakobson. She also studied philosophy, linguistics and structuralism at the Sorbonne under mentors Jean Wahl and Claude Lévi-Strauss.

It was her verisimilitude, that strata between film critic and award-winning journalism of politics in The Washington Post, The New York Times, and The New Yorker that drew me.
She has the bandwidth to contribute 'Speedboat' a fast-moving first-person narrative, that contains some of the most advanced contexture, and structure I've read in a long time, to waxing on Watergate, serving as a film critic and overall critic's critic.

I don't think I'll ever forget her bold and ice-cold takedown of film critic Pauline Kael's 'When The Lights Go Down'. That one made it into the pans hall of fame.

I try to ignore the mean girl side of Adler. Why? because as she proves, broad public consumption journalism doesn't have to be bone dry and a colossal bore. Memorable journalism or even just op-ed writing can leave a mark. You walk away remembering the context, not so much as for line by line contribution of facts, but because of its rhythm and style, the music of it. This writer is one hell of a composer.